| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "HITCHCOCK INFLUENCE FILMS": |
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Hitchcock's Influence on Other Films, 2002.
The purpose of this paper is to introduce and discuss the influence of director Alfred Hitchcock on other films.
890 words (approx. 3.6 pages), 6 sources, MLA, £ 22.95
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Abstract
This paper examines many movies from the past decades and shows how Hitchcock concepts have influenced the content and style of various movies. It shows that not only suspense movies have been influenced by this style. Some movies examined are ?Monty Python and the Holy Grail,? Spielberg's ?Close Encounters of the Third Kind,? and the Scorsese film ?Cape Fear."
From the Paper
"MacGuffin (n.) 1. In a film, a plot device whose sole purpose is to set the action in motion, such as a suitcase with unknown contents. Often, the MacGuffin turns out to be a decoy, causing men to make fools of themselves in pursuit of futile ends. Word origin: Coined by Alfred Hitchcock, 1939? (Enders). Hitchcock?s influence on filmmakers still exists today. For example, the recent movie ?Rat Race? uses a MacGuffin to set the entire movie action. The MacGuffin is the race; set up by the hotel owner that pits six groups of contestants against each other for $2 million dollars. "
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Character Perspectives in Hitchcock Films, 2006.
This paper illustrates Alfred Hitchcock's techniques of allowing the audience to be part of his films.
1,125 words (approx. 4.5 pages), 2 sources, £ 31.95
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Abstract
The paper discusses how in the films "Psycho," "North By Northwest," and "Rear Window," Alfred Hitchcock uses the action of the camera to invite the audience to take part in the voyeuristic activities of the characters. In "Psycho" and in "Rear Window" Hitchcock invites the audience into very specific moments in which the main characters observe others in the films without their knowledge. The paper depicts how these voyeuristic moments were a trademark of Hitchcock films that provided a moment in time for the audience to be part of the film and view action that called the audience in as second party voyeurs lead by Hitchcock himself.
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Expressionism in Hitchcock's Films, 2002.
Uses Alfred Hitchcock's film, "Shadow of a Doubt" to show his use of German Expressionism to explore the darker side of the human mind.
775 words (approx. 3.1 pages), 3 sources, £ 21.95
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Abstract
Hitchcock employs many of the thematic and cinematic elements of earlier film genres; in particular that of German Expressionism. This essay will argue that Hitchcock uses the Expressionist device of the doppelganger or double to delve into the darker areas of the human mind. The brilliance of Hitchcock's employment of this in "Shadow of a Doubt", it will be argued, lies in Hitchcock's realization that the monstrous is intimately linked and may in fact be produced by, normality.
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Alfred Hitchcock: Auteur of his Films, 2000.
A look at how the fact that Hitchcock wrote and directed all his films helped shape his reputation as one of the greatest filmmakers ever.
1,539 words (approx. 6.2 pages), 1 source, £ 35.95
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From the Paper
"While it may be debated for years to come if the term auteur belongs to Hitchcock, it will never be debated that he was a genius in his own right. And if being an auteur means that one exerts much control over his films, it is impossible to contradict the fact that Hitchcock, did indeed, show an unprecedented amount of control in each of his films. If the argument is to be sound, a closer examination of the meaning of auteur might be recognized.Hitchcock was a genius of film and art. His work was revolutionary and gave inspiration to many other filmmakers. His unwavering discipline of creating the best works proves him to be one of the best filmmakers in history. No doubt, his work will be debated and discussed for centuries to come. "
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Alfred Hitchcock Films, 2002.
Analyzes three movies by Hollywood director, Alfred Hitchcock.
900 words (approx. 3.6 pages), 3 sources, £ 24.95
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Abstract
An analysis of three movies of Alfred Hitchcock, and how he deviated from Hollywood norms. By understanding the use of German Expressionism and Documentary Realism in Hitchcock's films, we can see the Hollywood glamour of moviemaking he counteracts.
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Thriller Films and Alfred Hitchcock, 2004.
A discussion and analysis of several of Alfred Hitchcock's spy thrillers.
2,700 words (approx. 10.8 pages), 8 sources, APA, £ 67.95
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Abstract
This paper discusses and analyzes Alfred Hitchcock's spy thrillers, "Sabotage", "The Man Who Knew Too Much", "The Lady Vanishes" and "The 39 Steps", and identifies consistencies in the thriller genre.
From the Paper
"According to Martin Rubin, the label thriller describes a cinematic and literary genre which has certain identifiable characteristics and which represents a quantitative as well as qualitative concept. Rubin suggests that virtually all narrative films could be considered thrilling to some degree because they contain suspense and action and a sense of departure from the routine world into a realm that is more marvelous and exciting. However, to be a cinematic thriller, a film must meet other conditions, such as the doubling..."
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Alfred Hitchcock Films, 1982.
This paper describes Alfred Hitchcock's cinematography style as combining the "montage" of Pudovikin and the fluid camera of Murnau.
900 words (approx. 3.6 pages), 4 sources, £ 22.95
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From the Paper
"Alfred Hitchcock was a British film director who emigrated to the United States in the late 1930s. He was noted for his films of suspense, beginning in the silent era and extending through the development of sound and into the television era. He was born in 1899 in London. His father was a poultry dealer and fruit importer. Hitchcock was educated at the Jesuits' Saint Ignatius College. He also attended the School of Engineering and Navigation at the University of London, where he studied mechanics, electricity, acoustics, and navigation. His first job was as an estimator for the Henley Telegraph Company; he was nineteen. In the evenings he studied art at the University of London and soon transferred to the advertising department of the electric cable manufacturer to design ads for cables. His interest in the growing film industry led to his submission of a ... "
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Hitchcock Films, 2001.
Audience identification with central characters in "Psycho" & "The Birds".
1,350 words (approx. 5.4 pages), 4 sources, £ 33.95
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From the Paper
"One key to Alfred Hitchcock's great success as a movie director is his ability to persuade the viewer to identify with the central characters of his films. Audience identification with the dangers experienced by characters in peril is the key to successful suspense. But Hitchcock sometimes convinced the audience to identify with characters whose fates did not provide the release that audiences usually feel when their hero saves her/himself (or is saved) from danger. In The Birds (1963) Melanie Daniels is all but destroyed by the unexplained attacks of wild birds and the film's ambiguous ending does not leave the spectator with much hope for her. In Psycho (1960), of course, "everything is done to encourage the spectator to identify with Marion Crane," just to see her spectacularly murdered only one third of the way through the movie (Wood 143). In both films.."
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Alfred Hitchcock on Film, 2006.
An analysis of the theme of spying within the films of Alfred Hitchcock.
1,350 words (approx. 5.4 pages), 3 sources, £ 37.95
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Abstract
This paper analyzes three Hitchcock films: 39 Steps (1935), Rear Window (1954), and Psycho (1960)in relation to the theme of spying. Hitchcock uses governmental, moral, and immoral forms of spying that related the varying views of the characters that partake in espionage and intrigue. By understanding the basis for these types of spying, Hitchcock provides an interior, psychological view of human curiosity and the inevitable complexities of fantasy, murder, and social conscientiousness in a cinematic presentation.
From the Paper
"In this film study, the theme of spying will be analyzed within the films of Alfred Hitchcock. In the films: 39 Steps (1935), Rear Window (1954), and Psycho (1960) one an realize the various aspects of spying that Hitchcock provides within his plot structure. governmental spying will be the focus of 39 Steps, while 'good' or moral spying will be the basis of analysis for Rear Window. Also, the premise of bad or immoral spying will brought forth in the thriller Psycho, as Hitchcock provides interior views of people and how they spy upon one another. In essence, the theme of spying will be analyzed within this study, providing details as to how Hitchcock uses clandestine points of view to provide a foundation for his cinematic plot structures."
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Film Noir and Hitchcock, 2002.
An analysis of film noir motifs in Hitchcock's films.
1,150 words (approx. 4.6 pages), 2 sources, £ 31.95
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Abstract
This paper will examine how, in this work, Hitchcock employs many of the stylistic elements of the genre that would later become known as film noir to reveal the darkness that is at the heart of the "American dream."
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The Art Film and the Genre Film, 2004.
Art and genre criticism in four classic films.
3,048 words (approx. 12.2 pages), 48 sources, MLA, £ 63.95
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Abstract
An analysis of two genre films and two art films - Antonioni's "Blow Up," Kelly/Donen's "Singin' in the Rain", Truffaut's "The 400 Blows", and Sirk's "All That Heaven Allows". The validity of both genre and art film criticism are examined.
From the Paper
"By its failure to accommodate the excess generated by its subject matter, All That Heaven Allows is not only critiquing the genre of melodrama, it also exposes the contradictions and conflicts present in American bourgeois society (Bourget, 1995, 45). However the subversive excess and contradictions present in the film prevent it from being ?just another melodrama?. Sirk worked within yet against the constraints of the Hollywood studio system to subvert the genre, and although the film is superficially a generic 1950s Hollywood melodrama, Sirk?s characteristic stylistic technique marks him as an auteur, a position usually associated with the art rather than the genre film."
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Seventies Films Versus Today's Films, 2001.
A comparison between films from different periods in time, and the differences in their entertainment methods.
2,625 words (approx. 10.5 pages), 8 sources, £ 56.95
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Abstract
A comparison of three honored films from the seventies, "Easy Rider", "Five Easy Pieces", and "The Godfather" and two films from the the year 2000, "The Gladiator" and "Erin Brokovich". The paper considers how they differ in the realm of providing distracting entertainment versus probing consideration of timely issues, concluding that seventies films left a more lasting vision.
From the Paper
"What do we want from our movies? Do we seek simple escape or deeper understanding of our lives? Can a movie be both probing and entertaining? Are entertainment, eye candy and special effects enough, or do we seek something deeper? Do we want to look inside ourselves and ask questions, or to merely stay on the surface, distract ourselves, and deny that there is anything more to be considered? These questions arise when comparing three movies from the 1970s with two films nominated for Academy Awards in the 2000. The films considered are: from the seventies, Easy Rider, Five Easy Pieces, and The Godfather, and from 2000, Gladiator and, Erin Brokovich. Pauline Kael, the well-know New Yorker film critic, commenting on how she got hooked on films, agrees another critic, Paul Coates, that in its ideal form, ?Cinema is the dream of an afterlife from which to comprehend this one? (Kael 63). In light of this quote, the films from the seventies embody elements which through the focused vision of the director offer mythic qualities that provide not only entertainment but an opportunity for viewers to examine their lives. That in accomplishing this, they provide images that remain in the mind?s eye could be considered the tradition of the seventies. In contrast, recent films Gladiator and Erin Brokovich are entertaining distractions, providing no lasting vision."
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Film Studies: Analyzing Three Films within the Context of South East and Asian Historical Perspectives, 2005.
The Chinese Communist Party soon came to power after years of exile and puppet rule that Pu Yi had experienced in the ever changing political and gove...
1,350 words (approx. 5.4 pages), 6 sources, £ 37.95
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Abstract
The Chinese Communist Party soon came to power after years of exile and puppet rule that Pu Yi had experienced in the ever changing political and governmental landscapes of China. In 1950 Pu Yi was forced to leave his Soviet township and soon became a prisoner of the new Communist Party politics.
From the Paper
ABSTRACT TOO SHORT
Film Studies: Analyzing Three Films within the Context of South East and Asian Historical Perspectives Essay 1: Understanding the Premise of Vietnamese Communism within the Film: Full Metal Jacket The film Full Metal Jacket (1987), directed by Stanley Kubrick, offers an American point of view of a Vietnamese conflict that depended heavily on the communist (NLF) National Liberation Front. The communist resistance to American pressure to abdicate to the puppet regimes of older leaders, such as Ngo Dinh Diem, resulted in the NLF being called the "Viet Cong" or a "Democratic Dictatorship" within military and governmental propaganda. The reason for this is reflected in the film, as the Tet Offensive becomes the symbolic part of the movie where the Americans begin to lose the war, marking the American military's last real ground-based initiative to take the country. In this manner, a historical perspective of the NLF can be analyzed, but
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War Films as Military Propaganda, 2006.
This paper discusses both positive and negative depictions of the US military in films and looks at how the military has made use of some of these films as a propaganda tool.
1,350 words (approx. 5.4 pages), 4 sources, £ 37.95
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Abstract
This paper discusses the military's use of film as a propaganda tool. The films that examined in the paper are "Battlefield" and "The Manchurian Candidate". Other topics discussed include the Cold War and the use of ideology.
From the Paper
"Depictions of the US Military in film have varied considerably over the years. Some films portray the US Military as a negative force that is being used to repress the average citizen. Others portray the US Military in a very positive light by suggesting that they are the average citizen's last defense against hostile nations. Although both depictions can be found in films from any year there are definitely patterns in the proportions of the depictions. In certain time periods the negative depictions of the US Military will outnumber the positive ones. In other time periods the positive depictions..."
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